Friday, February 28, 2014

The 2nd CAFAM Biennale


The Invisible Hand: Curating as Gesture. Curatorial and the artistic gestures of selecting, arranging, organizing, and displaying overlap and collide. Modes of classification favored by modern museology are usurped by artistic acts of selection and sorting which eschew order in favor of rupture.
CAFA ART MUSEUM - CENTRAL ACADEMY OF FINE ARTS , BEIJING
http://www.cafambiennale.org/



Experimenting with the possibilities of curatorial education and its potential to impact cultural development, CAFA Art Museum has invited six leading curatorial programs from the U.S.A., Europe, and China to join in the organization of the Biennale. Representing California College of the Arts, San Francisco; China Central Academy of Fine Art, Beijing; China Academy of Art, Hangzhou; de Appel arts centre, Amsterdam; École du Magasin, Grenoble, and the Royal College of Art, London, faculty members and alumni have collaborated on the overall conception and execution of this unique project as well as worked independently to present six distinct but related exhibitions that feature artworks from 68 artists and groups. 

The title of the Biennale—The Invisible Hand—refers to Adam Smith's metaphor describing the self-regulating behavior of the marketplace. In the context of the six respective exhibitions the metaphor is extended to intimate something of the histories, methodologies, and theories that inform curating, without leaving visible traces of their impact. 

CAFA art museum Beijing

While they offer a variety of interpretations of the overarching theme, Smith's presence is directly acknowledged in artistic gestures of political, social, sexual, and imaginative resistance to dominant modes of liberal politics and capitalist economics. 

At the same time, the museum is revealed as a theater of objects, which despite the mechanisms of display and interpretation yet enact their own tales. Its dense acreage of its storage areas is additionally understood as humanity's cellar, the contents of which mirror our histories, while temporary displays in the galleries only reflect our prevailing ideologies. Curatorial and the artistic gestures of selecting, arranging, organizing, and displaying overlap and collide. Modes of classification favored by modern museology are usurped by artistic acts of selection and sorting which eschew order in favor of rupture. 

Through the exhibition and its associated conference and publication, the Biennale will thus highlight and promote the role of curating as a practice that constructs knowledge as part of an expanded ecology, which is integrated with academic education and social practice. 



Exhibitions presented in The Invisible Hand: Curating as Gesture 

No Puppet is Dumber than its Puppeteer_ 
Bani Abidi, Luke Ching, Tyler Coburn, Mark Dion, Yva Jung, Ximena Garrido-Lecca, Céline Condorelli & Gavin Wade, Elio Montanari, Wendelien Van Oldenborgh, Pedro Reyes, Moe Satt, Wilson Sheih, Angela Su, Wang Wei, Yu Cheng-Ta 
Curated by Kit Hammonds with Olga Fernandez, Yung Ma, and November Paynter 

The Code of The Golden Bough—Economics of Witchcraft, Soul, and Faces 
He An, Omer Fast, Meschac Gaba, Khaled Hourani, Huang Ran, Li Jingxiong, Liu Xinyi, Ma Daha, Pak Sheung Chuen, Wang Sishun, Stefanos Tsivopoulos, Xu Zhen, Yang Beichen (Alain Cavalier, Raoul Ruiz, Albert Serra, Andrey Tarkovskiy, Wang Bing), Vadim Zakharov, Zhao Yao 
Curated by Hu Danjie 

Game Theory: Which Animals Are Most Like Each Other? 
Constant Niewenhuys/New Babylon, Experimental Jetset, Provo, Temporary Services, The Yes Men, YKON 
Curated by Angela Jerardi 

Museum Cellar 
Gerard Altaió, Huang Sunquan, Marco Casagrande, Wang Jiahao, Shi Ke, Wang Kewei 
Curated by Ma Nan 

On Ambiguity and Other Forms To Play With 
Bik van Der Pol, Pauline Boudry & Renate Lorenz, Heman Chong, Claire Fontaine, Mark Dion, Dora Garcia, Pablo Helguera, Tobias Kaspar, Lili Reynaud-Dewar 
Curated by Veronica Valentini 

Parliament of Things, or, Wandering in a Continuously Bewildering Wonder 
Zarouhie Abdalian & Joseph Rosenzweig, Yin-Ju Chen & James T. Hong, Heman Chong, Hans Peter Feldmann, Harrell Fletcher, Mario Garcia Torres, Maryam Jafri, Joachim Koester, Jompet Kuswidananto, Gabriel Lester, Li Ran, Herbert List, Rabih Mroué, Pratchaya Phinthong, Man Ray, Pedro Reyes, Tino Sehgal, Alexandre Singh, Javier Téllez, Mungo Thomson 
Curated by Xiaoyu Weng 

The CAFAM Biennale is organized by the Central Academy of Fine Art Museum, Beijing. 
Art Directors-General: Pan Gongkai, Xu Bing 
Art Director: Wang Huangsheng 
Academic Supporter: Yi Ying 
Coordinator: Wang Chunchen 

Curatorial Advisors: Yves Aupetitallot, Ann Demeester, Gao Shiming, Hou Hanru, Leigh Markopoulos, Victoria Walsh, and Yu Ding 

To get more details about the exhibition www.cafambiennale.org 

Chief Contact 
GAO GAO 64771695 13269619167 gao.gao.msn@hotmail.com 

Press Conference: Introduction to the 2ndCAFAM Biennale 
Moderator:WANG Huangsheng 
Curatorial Team:Kit Hammonds, HU Danjie, Angela Jerardi, MA Nan, Veronica Valentini, Xiaoyu WENG 
Time: 14:00, Feb. 28, 2014 
Auditorium, CAFA Art Museum 

The Opening Ceremony of the 2ndCAFAM Biennale 
Time: 16:00, Feb. 28, 2014 

CAFA Art Museum 
No.8 Hua Jia Di Nan St. - Chao Yang District, Beijing 
Hours: Tue-Sun(Closed on Mon)09:30-17:30 (Stop ticket booking after 17:00) 
Admission: Ticket 15 RMB, Preferential ticket 10 RMB

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第二届CAFAM双年展
无形的手:策展作为立场

CAFAM双年展是中央美术学院美术馆主办的以大学美术馆为平台的双年展,首届展“超有机:一个独特研究视角与实验”于2011年9月至11月在中央美术学院美术馆成功举办,深获社会各界好评,并被多家机构及媒体评为2011年度中国“年度最佳展览”。
第二届CAFAM双年展以“无形的手:策展作为立场”为主题,将继续秉持国际性、当下性、前沿性的学术方向,深入探讨当代文化与艺术的发展与实验的精神、面貌与特征。第二届CAFAM双年展的总体策展方式将采取创新形式,基于艺术学院策展专业的设立及发展,及其在当代的策展活动中发挥的独特而重要的作用。本届CAFAM双年展将以邀请国际重要艺术学院的策展专业指导教师为学术主持,策展专业毕业并具有较出色策展成果的学生担任策展人,共同构成具有创新意义和教学实践及实验意义的策展团队,来策划、组织、实施本届CAFAM双年展。这些被推荐的策展人将以他们各自的学术特征来策划、呈现他们所关注的艺术课题和艺术家,使得策展的实践既与艺术教育有关,又与当代艺术的生态有关,从纵向、横向来推动策展与艺术的实践活动。
因为这是跨越地区、跨越文化的横向策展实践的一次双年展,所以我们特别强调这些策展人所呈现的问题、话题具有超经验的性质,即它们是超越当下情景、特定类型、单一学科的艺术展览表现;同时,作为策展,我们也强调它不是孤立的展览计划和落实,而是一种超策展的学术研究,它纵向地思考历史,又横向地架通不同学科知识的对话,以艺术的方式来昭示当代国际社会的关注点与特殊性。另外,因为这是国际间合作的双年展,从观念到作品到具体语言的翻译转译也是我们思考的方面之一。语言的交流永远都是一项文化事件,凡有文化变革与发展,都会与文本的语言翻译有关,其背后就是文化观念的转移、传递和解读。这种超经验、超策展、超翻译的方式和目标,是希望通过一种新型的双年展价值诉求,以突出、强化当代的策展经由学院教育与社会实践,走向综合知识构成、走向艺术生态有机整体的趋势。


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